Pollock Vision and Difference

Feminism, Femininity and Histories of Art
3. Auflage 2012
ISBN: 978-1-136-74390-0
Verlag: Taylor & Francis
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 368 Seiten

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt.

Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Difference is as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.

Autoren/Hrsg.

Pollock, Griselda

Fachgebiete

• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften
• Sozialwissenschaften Soziologie | Soziale Arbeit Spezielle Soziologie Mediensoziologie

Inhaltsverzeichnis

Introduction; 1: Feminist interventions in the histories of art

Chapter 2 Vision, voice and power: feminist art histories and Marxism

Chapter 3 Modernity and the spaces of femininity

Chapter 4 Woman as a sign in pre-Raphaelite literature: the representation of Elisabeth Siddall (written in collaboration with Deborah Cherry)

Chapter 5: A Photo-essay - signs of femininity

Chapter 6: Woman as sign: psychoanalytic readings

Chapter 7: Screening the seventies: sexuality and representation in feminist practice - a Brechtian perspective

Notes

Bibliography

Index

Über Autor(innen)

Griselda Pollock (1949-). Renowned art historian and critic, currently Professor of Social and Critical Histories of Art at the University of Leeds